The history of
Charlie Parker is well documented, so much so that most devotees of
Bird's pioneering legacy undoubtedly have more than enough recordings to tell the tale. What they might not previously own is readily available in one package on this splendid four-CD set, containing a 100-track chronological musical and verbal account of
Parker from 1940 to 1947. It encompasses items such as two whopping, finely detailed 32-page booklets, an early rare demo and interview with the saxophonist about his family and life as a teenager, and recordings with
Jay McShann,
Hazel Scott,
Cootie Williams,
Dizzy Gillespie,
Earl Coleman, and
Barry Ulanov's Metronome All Stars. The sound quality is good overall, though some of the early interview segments are paper thin, and a few of the songs have dropouts. Generally the studio or radio transcriptions are very good, and have held up through digital transfer. Interviews with
Max Roach and
Teddy Edwards are particularly illuminating and clearly recorded. The interviews with
Roy Porter are just as interesting, but sound scratchy and not as clean.
Over this eight-year period,
Parker became the singularly unique star of bop, and fell hard as a heroin addicted junkie, committed to the Camarillo rehabilitation center in California for six months in 1946. Prior to that, he was well on his way to stardom, and the 1940 sessions with
McShann's band prove the point. These are the most valuable dates in that they showcase the alto and tenor saxophonist as a premier soloist and lead melody constructor. A well done cover of
"Moten Swing," the jumpin'
"Oh, Lady Be Good" with
Bird on tenor, and the self-proclaimed "louder and funnier"
"Wichita Blues" give sway to the emergence of
Parker, the latter piece featuring trombonist and violinist
Bob Gould. More
McShann from radio broadcasts lay out further evidence, at times with
Al Hibbler or
Walter Brown singing, but
"Swingmatism" expresses the emerging modern, tricky, multi-faceted approach. Tracks with guitarist
Efferge Ware, trumpeter
Billy Eckstine, pianist
Hazel Scott, and vocalist
Rubberlegs Williams suffer a bit from sound, but are all rare and precious sessions. Recordings with the
Cootie Williams Orchestra from 1945 represent a high-water mark, ranging from the raucous, hard swinging
Mary Lou Williams evergreen
"711/Roll 'Em," a plus take of
"Perdido," Williams originals like the swing jam
"Night Cap," and sly, bluesy
"Saturday Night." Several tracks with
Gillespie and the
Rebop Six include classics like the furious
"Shaw 'Nuff," the inimitable
"Groovin' High," and
"Dizzy Atmosphere," including vibist
Milt Jackson. These recordings, and following tracks were taken from the legendary
Jubilee revue programs, hosted by the irascible
Ernie "Bubbles" Whitman. There's an admirable session with poll winners
Benny Carter,
Willie Smith, and
Parker all taking a featured tune.
But by the time
Parker was signed to
Dial records in 1946, you could clearly hear the deterioration in his playing. His second series of recordings for
Dial with trumpeter
Howard McGhee is, in the words of the booklet annotator, "falling apart," even though you hear a rare take of the fine
Oscar Pettiford bop tune
"Max Is Makin' Wax" (aka
"Chance It"), and the obscure
Parker blues
"The Gypsy." Unfinished material and solos (
Parker was also doing benzedrine), and the great material of classy crooner
Coleman, especially
"This Is Always," follow the post-Camarillo tracks where
Bird sounds disinterested, and
Dean Benedetti's well known
"Hi-De-Ho" recordings with an inspired
McGhee gave
Parker somewhat of a boost.
Parker had gained considerable weight in the hospital,
McGhee was taking care of him, and it seemed that
Bird's run might be done. Fortunately the
Ulanov sessions marked a triumphant return, as
Bird was paired again with
Gillespie and
Roach, clarinetist
John LaPorta, pianist
Lennie Tristano, bassist
Ray Brown, and guitarist
Billy Bauer. These
Mutual Broadcasting System Bands for Bonds radio broadcasts from September 13 and 20 of 1947, proved
Parker a capable team player, as well as a still impressive soloist. Included is the fiery
"Hot House," a wild intro before calming to
"On the Sunny Side of the Street," and a Dixieland jam plus bop styled take of
"Tiger Rag" gone livid and crazy. After having won a poll of listeners, the band made a return appearance on November 8, with trumpeter
Fats Navarro, bassist
Tommy Potter, and tenor saxophonist
Allen Eager replacing
Diz,
Brown, and
Bauer.
Parker is clearly feeling more confident, leading out on the fleet
"Donna Lee" as the others lag behind.
Bird in Time is an essential item for collectors of
Parker's music, and though many of the recordings are available elsewhere, the salient interviews are not. As a complete package it further illustrates, musically and otherwise, what the saxophonist individually expressed and endured at a time when he was the main progenitor and flag waver of the bop revolution. ~ Michael G. Nastos
